- A wonderful copy that lets this music swing the way it’s supposed to! Triple Plus (A+++) sound throughout
- Both sides are incredible with big, clear and present sound — Deano’s vocals are Right On The Money
- With Nelson Riddle arranging, the album has plenty of swing all right — and the brass sounds amazing here
- 4 1/2 Stars in the All Music Guide: “…an easy swinging collection…”
If you’re a fan of the Capitol Sinatra sound you’ll love this record. It’s an exceptionally difficult title to find in anything but trashed condition. I’ve been a fan of this record for many years but this is the first copy we’ve been able to find that’s clean enough to go up on the site with White Hot Stamper grades.
Tubey Magic Is Key
The best copies have the kind of Tubey Magical Midrange that modern records cannot even BEGIN to reproduce. Folks, that sound is gone and it sure isn’t showing signs of coming back. If you love hearing INTO a recording, actually being able to “see” the performers, and feeling as if you are sitting in the studio with the band, this is the record for you. It’s what vintage all analog recordings are known for — this sound.
If you exclusively play modern repressings of vintage recordings, I can say without fear of contradiction that you have never heard this kind of sound on vinyl. Old records have it — not often, and certainly not always — but maybe one out of a hundred new records do, and those are some pretty long odds.
What to Listen For (WTLF)
Copies with rich lower mids and nice extension up top (to keep the strings from becoming shrill) did the best in our shootout, assuming they weren’t veiled or smeary of course. So many things can go wrong on a record! We know, we heard them all.
I Can’t Believe That You’re In Love With Me
You’re Nobody ‘Til Somebody Loves You
On The Street Where You Live
Until The Real Thing Comes Along
Please Don’t Talk About Me When I’m Gone
I’ve Grown Accustomed To Her Face
Mean To Me
Heaven Can Wait
Just In Time
Dean Martin finally got access to conductor/arranger Nelson Riddle for an album project, and the result was an easy swinging collection with appealing horn charts and a series of comfortable readings of recent and vintage standards.
Especially notable were the two songs borrowed from My Fair Lady, “On the Street Where You Live” and “I’ve Grown Accustomed to Her Face,” which Martin and Riddle re-imagined as straight-forward love songs; “You’re Nobody ’til Somebody Loves You” (which Martin would try again in a more contemporary arrangement four years later for one of his biggest hits); and a solo version of “Just in Time,” which the singer had recently done with Judy Holliday in the film version of the musical Bells Are Ringing.
This Time I’m Swingin’! was a good, confident set by an artist who had figured out how to make competent albums without expending a lot of effort, which was a key to his charm.